POTTEf 


NEAR  EAST 


UC-NRLF 


^B  35^  ^^^ 


GARRETT  GHATFIELD  PIER 


^^ 


1 


OF   THE 

UNIVERSITY 

OF 


By  Garrett  Chatfield  Pier 
Inscriptions  of  the  Nile  Monuments 

A  Book  of  Reference   for  Tourists 

Pottery  of  the  Near  East 


Lustred  Vase.     Rakka,  Mesopotamia.     XI-XII  Century. 


Pottery  of  the  Near  East 


By 
Garrett  Chatfield  Pier 


Author  of  "  Inscriptions  of  the  Nile  Monuments. 


With  64  Illustrations 


G.   P.  Putnam's  Sons 

New   York   and    London 

^be  Icnicfierbocfter  ptees 

1909 


GENERAL 


Copyright,  igog 

BY 

GARRETT  CHATFIELD  PIER 


Ube  ftnfcfterbocfter  press,  "new  l?orb 


X 


PREFACE 

r\URING  the  last  few  months,  many 
^^^  choice  and  remarkably  preserved 
examples  of  the  ceramic  wares  of  this 
section  of  the  Orient  have  reached  our 
markets,  examples  distinctive  in  material, 
form,  and  ornamentation.  Among  these 
were  found  certain  pieces  of  more  than 
usual  interest,  since  they  provide  us  with 
new  facts  in  regard  to  the  dating  of  cer- 
tain of  these  early  mediaeval  ceramic 
productions.  To  present  these  facts  as 
concisely  as  possible  is  the  purpose  of 
this  monograph,  which,  it  may  be  added, 
deals  with  the  Muhammedan  wares  of 
every  section  of  the  Near  East,  with 
the  single  exception  of  those  of  Saracenic 
Spain,  so  ably  treated  of  by  Dr.  Van  de 
Put. 


G.  C.  P. 


New  York,  January  25,  1909. 


204134 


CONTENTS 


CHAPTER  ^'"""• 

I.     Mesopotamia       .          .          .  ,  i 

II.     Egypt          .          .          .          •  =  33 

III.  Syro-Egyptian    ...  o  47 

IV.  Syria           ...         .o  64 
V.     Persia         .          .          .          •  »  73 

VI.     Turkey,  European  and  Asiatic  .  141 

Index          .         .         .         •  •  ^73 


LIST  OF  ILLUSTRATIONS 


PAGE 


LusTRED  Vase.       Rakka,  Mesopotamia. 
XI-XII  Century     .        Frontispiece 

FIGURE 

1.  LusTRED  Bowl.       Rakka,  Mesopo- 

tamia.     Attributed  to  the  XI- 
XII  Century      .  .  .  .         3 

2.  Lustred  Bowl.       Rakka,  Mesopo- 

tamia.     Attributed  to  the  XI- 
XII  Century      ....  5 

3.  Fragment  OF  Lustred  Bowl.    Rak- 

ka, Mesopotamia.       Attributed 

to  the  XI-XII  Century     .  .         7 

4.  Bowl.        Rakka,        Mesopotamia. 

Dated  831  A.  D.  .  .  .11 

5.  Large  Jar.     Rakka,  Mesopotamia. 

XI-XII  Century         .  .  .13 

6.  Vase.    Rakka,  Mesopotamia.    XII- 

XIII  Century    .  .  .  •        15 


X 


viii  Illustrations 

FIGURE  PAGE 

7.  Vase.    Rakka,  Mesopotamia.    XII 

Century  .  .  .  •       17 

8.  Vase.    Rakka,  Mesopotamia.    XII 

Century  .  .  .  .21 

9.  Ewers  and  Bowl.      Rakka,  Meso- 

potamia.    XII-XIII  Century     .       23 

10.  Vase.    Rakka,  Mesopotamia.    XII- 

XIII  Century  .  .  25 

11.  Plate.  Rakka,  Mesopotamia.  XII- 

XIII  Century       .         .         .         .        27 

12.  Wall  Tile.      Mesopotamia.      XIII 

Century    .....       29 

13.  Fragment  of  Lustred  Dish.     Fos- 

TAT.  Attributed    to    the    X 

Century    .  .  •  •  •       35 

14.  Earthenware  Bowl.       Egyptian. 

XII  Dynasty      .  .  •  •       37 

15.  Fragment  of  Bowl.      Kus,  Upper 

Egypt.     XV-XVI  Century  .       39 

16.  Bowl.        Period   of   Ghury,    1505 

A.  D.     Fostat    ....       41 


Illustrations  ix 

FIGURE  PAGE 

17.  Bowl    Fragment.  Kus,    Upper 

Egypt.  XV-Xvf     Century. 

"  Made  by  the  Servant  of  the 
Illustrious  Commander  Shihab 
EL  Din  *Umary"  .  .  -43 

18.  Bowl.     Syro-Egyptian.     XII  Cen- 

tury .....       49 

19.  Bowl.     Syro-Egyptian.     XII  Cen- 

tury .  .  .  .  -51 

20.  Shallow  Bowl.       Syro-Egyptian. 

Early  XIV  Century  .  .       53 

21.  Vase.        Syro-Egyptian.        Early 

XIV  Century     .  .  .  -55 

22.  Small   Bowl.  Syro-Egyptian. 

Early  XIV  Century  .  .       57 

23.  Shallow  Bowl.       Syro-Egyptian. 

Early  XIV  Century  .  .       59 

24.  Bowl.       Syro-Egyptian.       Early 

XIV  Century     .  .  .  .61 

25.  Vase.     Syria.        Early  XIV  Cen- 


1. 


TURY  .....  67 


Illustrations 


26.  Bowl.      Syria.      XIV  Century     .       69 

27.  LusTRED  Vase.       Rhages,   Persia. 

XIII  Century    ....       75 

28.  LusTRED   Wall   Tiles.         Persia. 

XIII  Century    ....       77 

29.  LuSTRED    AND    CoLORED    WaLL   TiLE. 

Persia.     XIII  Century       .  .       79 

30.  LusTRED   Wall  Tile.        Veramin, 

Persia.     XIV  Century       .  .       83 

31.  LusTRED  Wall  Tile.    Persia.    XIV 

Century    .....       85 

32.  Lustred  Wall  Tile.    Persia.   XIV 

Century  ....       89 

33.  Lustred  Wall  Tile.    Persia.    XIV 

Century    .....       91 

34.  Lustred  Plate.       Persia.       XVI 

Century    .....       95 

35.  Lustred  Bottle.       Persia.       XVI 

Century  ....        97 

36.  Lustred  Bottle.       Persia.       XVI 

Century  ....        99 


Illustrations  xi 

FIGURE  PAGE 

37.  Polychrome     Bowl.  Rhages, 

Persia.     XIII  Century      .  .     103 

38.  Vase.      Persia.      XIII  Century    .     105 

39.  Exterior    of    Bowl.      Sultanieh, 

Persia.     Early  XIV  Century     .     107 

40.  Bowl.     Sultanieh,  Persia.    Early 

XIV  Century      .  .  .  .     iii 

41.  Bowl.     Sultanieh,  Persia.    Early 

XIV  Century      .  .         .  .113 

42.  Wall  Tiles.     Sultanieh,   Persia. 

Early  XIV  Century  .         .115 

43.  Panel  of  Mural  Tiles.     Ispahan, 

Persia.     1586-1628     .  .  .     119 

44.  Plate.     Persia.     XVI-XVII  Cen- 

tury .....     121 

45.  Plate.     Persia.     XVI-XVII  Cen- 

tury .  .         .         .         .123 

46.  Plate.       Bokhara,  Central  Asia. 

XVIII-XIX  Century  .  .127 

47.  Plate.    Kirman.    XVII  Century  .     129 


xii  Illustrations 


48.  Plateau.  Kirman     (K'ang-hsi 

type).     Persia.     XVII  Century     131 

49.  Bottle.      **Gombrun  Ware,"  Per- 

sia.    1700-1750  .  .  .135 

50.  Dish.     "Gombrun  Ware,"  Persia. 

1700-1750  .  .  .  .137 

51.  Plate.    Asia  Minor.    Dated  1646  .      143 

52.  Plate.      Asia  Minor.      XVI-XVII 

Century    .....      145 

53.  Jug.        Asia  Minor.        XVI-XVII 

Century    .....     147 

54.  Plate.      Asia  Minor.      XVI-XVII 

Century  ....     149 

55.  Jug.        Asia  Minor.        XVI-XVII 

Century    .  .  .  .  -151 

56.  Plate.      Asia  Minor.      XVI-XVII 

Century    .  .  .  .  -153 

57.  Jug.        Asia  Minor.        XVI-XVII 

Century  .  .  .  .  .157 

58.  Plate.      Asia  Minor.      XVI-XVII 

Century    .  .  .  .  -159 


Illustrations  xiii 

figure  page 

59.  Mosque  Lamp.     Anatolia  (Persia). 

XVI  Century.  "Made  by  the 
Servant  of  the  Illustrious  Com- 
mander Shihab  el  Din  'Umary"  .      161 

60.  Bowl.    Kutahia,  Anatolia.    XVII 

Century    .  .  .  .  .     163 


61.     Bowl.    Kutahia,  Anatolia.    XVII 
Century    .... 


165 


62.  Plate.       Damascus,  Syria.      XVI 

Century    .  .  .  .  .167 

63.  Wall  Tile.    Damascus,  Syria.    XVI 

Century  .....        169 


BIBLIOGRAPHY 

FouQUET,  Dr.,  Contribution  h  V etude  de  la  cer antique 
orientale.     Cairo,  1900. 

Martin,  Dr.,  Keramik  von  Central  Asien. 

MiGEON,  G.,  Album  de  V Exposition  des  Arts  Musulmans. 
Gazette  des  Beaux- Arts,  Sept.,  1901;  July,  1905. 
Les  Arts,  April,   1903.     Manuel  d'art  ntiisulman. 

VON  Falke,  O.,  Majolika.     Berlin,  1896. 

Wallis,  a.,  Notes  on  Some  Early  Persian  Vases. 
London,  1885-89.  Persian  Ceramic  Art  in  the  Col- 
lection of  M.  de  Cane  Godman.  1891-93.  Typical 
Examples  of  Persian  and  Oriental  Art.  1893. 
Persian  Lustre  Vases.     1899. 


X 


POTTERY    OF    THE 
NEAR  EAST 


CHAPTER  I 

MESOPOTAMIA 

r^ATA  recently  furnished  us  through 
^^^  the  discovery  in  Mesopotamia  of 
the  earliest  pieces  of  mediaeval  faience 
prompt  us  here  to  consider  first  the  wares 
of  this  section  of  the  Orient,  and  more 
especiSlly  those  of  Rakka,  one  of  Meso- 
potamia's most  ancient  cities. 

Amidst  the  mounds  of  Rakka,  which 
is  situated  on  the  banks  of  the  Euphrates 
between  Aleppo  and  Baghdad,  there 
have  been  found  of  late  numerous  ex- 
amples of  a  faience  decorated  with 
lustre  ornamentation  of  a  deep  brownish- 


2  Pottery  of  the  Near  East 

purple  tone.  This  lustred  decoration, 
usually  in  the  shape  of  floral  arabesques, 
floriated  ovals  or  medallions,  cufic  in- 
scriptions and  plain  bands,  is  often 
further  enriched  by  floral  designs,  ovals, 
or  cufic  inscriptions  in  a  watery  cobalt 
blue  under  the  glaze.  A  representative 
example  of  this  lustred  faience  is  a 
siliceous  glazed  bowl  (Fig.  1)  which, 
apart  from  the  richness  of  its  design, 
has  been  the  cause  of  much  discussion, 
as  it  bears  a  date  faintly  incised  under 
the  glaze  which,  if  we  read  it  rightly, 
would  assign  it  to  the  year  170  or  175 
of  the  Hegira,  that  is  to  say  to  the  year 
790  or  795  of  our  era.  The  inscription 
runs  half-way  around  the  third  band 
from  the  rim,  at  the  end  of  which,  at 
the  top  in  the  illustration,  are  the 
numerals  faintly  and  roughly  incised. 
Yet  from  other  recently  discovered  ex- 
amples similar  in  decoration  but  attribu- 


Fig.    I. — Lustred  Bowl.     Rakka,  Mesopotamia.     Attributed  to  the 
XI-XII  Century. 


U 
I— I 

>< 

I 

>< 


S    o 

o    w 

a.  *;h 
o    o 


YiG.  3. — Fragment  of  Lustred  Bowl.      Rakka,  Mesopotamia.     Attributed 
to  the  XI-XII  Century. 


Mesopotamia      ■  9 

table  to  the  late  eleventh  or  early 
twelfth  century,  such  as  the  superb 
vase  shown  in  the  frontispiece,  we 
may  reasonably  conclude  thatrJive  are 
dealing  with  an  example  which  bears 
a  botched  date.  Until  another  dated 
example  shall  come  to  light  we  must 
hold  the  question  of  date  in  abeyance, 
with  a  feeling,  prompted  by  the  researches 
of  the  learned  Dr.  Sarre,  that  this  class 
of  lustre  ware  is  attributable  to  the  late 
eleventh  or  early  twelfth  century.  The 
forms  of  this  lustred  ware  are  varied, 
but  consist  for  the  most  part  of  deep, 
straight-rimmed  bowls,  or  those  of  a  more 
shallow  form  having,  as  in  the  illustration 
(Fig.  1),  flat,  out-flaring  rims,  and  stand- 
ing, as  in  all  cases  they  do,  upon  an 
unglazed  base.  Large  amphora  and  pear- 
shaped  vases,  with  or  without  handles, 
deep,  rounded  incurving-rimmed  bowls 
are  known,  as  are  globular  or  ovoid  vases 


lo        Pottery  of  the  Near  East 

with  flat  tight-fitting  covers,  and  even 
small  cups  or  miniature  bowls. 

Thus  we  have  seen  recently  a  two- 
handled  amphora-shaped  vase,  rivalling 
the  best  Greek  work  for  purity  and  grace 
of  line,  and  decorated  with  warm  pur- 
plish-brown lustred  floral  designs,  lustred 
bands  of  simulated  cufic,  and  floral 
medallions  in  dark  blue. 

The  bowls  illustrated  under  Figs.  2-3, 
decorated  as  they  are  with  rich  floral 
designs,  ovals,  and  cufic  inscriptions, 
are  representative  examples  of  this  early 
lustre  ware. 

The  unlustred  Rakka  ware  is  similar 
in  paste,  that  is  to  say  it  is  of  a  brownish- 
or  greyish-white  frit  of  heavy  texture, 
especially  so  in  the  case  of  many  of  the 
large  jars  and  vases.  The  forms  are  often 
similar  to  those  found  among  the  lustred 
group,  though  others,  such  as  large 
water    or    wine   jars   and   lamp   stands. 


Fig.  4. — Bowl.     Rakka,  Mesopotamia.     Dated  831  A.D. 


II 


Fig.  5.— Large  Jar.     Rakka,  Mesopotamia.     XI-XII  Century. 
INIctropolitan  Museum  of  Art. 

13 


Z^^^Of   THE 


Fig.  6.— Vase.     Rakka,  Mesopotamia.     XII-XIII  Century. 
15 


Fig.  7. — Vase. 


Rakka,  Mesopotamia. 
17 


XII  Century. 


'     OF  THE 

UNIVERSITY 

OF 


Mesopotamia  19 

are  so  far  new.  In  describing  this  un- 
lustred  ware,  we  must  first  mention  the 
unique  bowl  illustrated  under  Fig.  4. 
The  decoration,  in  black  against  a  bluish 
green,  is  very  simple,  consisting  in  the 
first  place  of  a  central  circular  rosette. 
About  this  is  an  incised  band  of  in- 
scription giving  us  the  earliest  known 
date  for  this  unlustred  ware,  that  is, 
211  of  the  Hegira  or  831  of  our 
era.  Beyond  this  in  broken  compart- 
ments are  cufic  characters  filled  in  with 
dots  and  lines.  In  this  case,  though  the 
inscription  is  very  much  worn,  in  places 
entirely  destroyed  by  the  oxidisation 
of  the  glaze  above  it,  still  the  date  is 
fortunately  easily  decipherable,  being 
found  to  the  left  of  the  lower  part  of 
the  circular  band,  which  surrounds  the 
rosette  at  the  centre.  The  decoration,  as 
will  be  seen,  is  unlike  any  other  example 
of   Rakka  ware,   so  that  we  may  infer 


20        Pottery  of  the  Near  East 

that  this  is,  up  to  the  present,  the  only 
example  of  the  ninth  century  ware  of 
Rakka  preserved  to  us.  To  a  somewhat 
later  period,  to  the  eleventh  or  twelfth 
century,  is  attributable  the  large  green 
vase  shown  under  Fig.  5,  while  to  the 
twelfth  or  early  thirteenth  century  may 
be  assigned  the  fine  vase.  Fig.  6,  decorated 
in  black  on  greenish  blue,  with  the 
figure  of  a  two-headed  eagle,  possibly 
a  renk  or  coat-of-arms,  and  inscribed 
about  the  neck  with  an  indecipherable 
inscription  in  black.  Two  superb  vases. 
Figs.  7-8,  are  decorated  in  relief,  the 
first  with  bird  designs  and  arabesques 
in  black  on  a  blue  ground;  the  second 
with  what  appears  to  be  the  floriated 
cufic  inscription:  ''There  is  no  God  but 
He,"  in  a  blue  monochrome. 

With  the  twelfth  century  also  the 
Mesopotamian  potter  added  still  another 
type  of  ceramic  ware,  and  this  in  terra 


Fig.  8.— Vase. 


Rakka,  Mesopotamia.     XII  Century. 

21 


Kouchakji  Freres. 


p< 


W 
I 

6 


Fig.  io. — Vase.      Rakka, 


Mesopotamia. 
25 


XII-XIII  Century. 


Fig.  II. — Plate.     Raklca,  Mesopotamia.     XII-XIII  Century. 
Metropolitan  Museum  of  Art. 


27 


^1 

-(J     S 
O      OJ 

a.  « 
o    3 


(U     o 


Mesopotamia  31 

cotta.  In  the  British  Museum  is  pre- 
served a  fragment  of  a  large  jar,  decorated 
in  relief  in  Byzantine  style  with  human 
and  bird  figures  in  the  midst  of  foliated 
spirals.  At  intervals  are  set  crowned 
heads  and  arching  bands  of  six-petalled 
floral  rosettes,  between  spirals  or  plain. 
A  fragment  somewhat  similar  is  in  the 
Louvre,^  as  is  a  large  bowl  decorated 
in  low  relief  with  fruit,  and  surrounded 
by  an  undeciphered  cufic  inscription, 
a  bowl  brought  from  Susa  by  the  Morgan 
Expedition. 

Yet  it  is  to  the  end  of  this  period 
and  through  the  thirteenth  century  that 
we  must  attribute  the  many  vases,  pots, 
bowls,  and  ewers,  decorated  with  coarse, 
foliated  spirals,  birds,  ray  design,  ara- 
besques, or  cufic  inscriptions  in  black 
against    a    rich    blue-green    ground,    to- 

1  Figured  by  Migeon,  G.,  Manuel  d'art  musulman, 
page  284. 


32        Pottery  of  the  Near  East 

gether  with  those  mural  tiles  or  plaques 
having  relief  decoration  of  mythological 
animals,  coloured  in  the  same  rich  tone 
of  green,  and  covered  with  a  thick 
translucent  glaze,  oxidised  as  a  rule  by 
the  saline  properties  of  the  soil  in  which 
they  have  lain  so  long.  To  this  period 
belong  the  examples  shown  in  Figs. 
9-12. 


CHAPTER  II 

EGYPT 

T  T  NDER  this  title  are  grouped  a  number 
^-^  of  pure  Egypto-Saracenic  types. 
The  oft-quoted  Nassiri  Khosrau,  writ- 
ing in  the  eleventh  century,  expresses 
his  surprise  at  seeing  in  Cairo  all  kinds 
of  faience,  including  bowls,  dishes,  and 
plates,  decorated  with  colours  similar 
to  that  observed  in  a  certain  marvellous 
stuff  called  at  the  time  bukalemun,  of 
which  the  colour  changed  according  to 
the  angle  in  which  it  was  held  to  the 
light.  This  is  certainly  a  reference  to 
some  sort  of  metallic  lustre,  of  which  the 
unique  fragment,  found  amidst  the  Fostat 
(Old  Cairo)  mounds  (Fig.  13),  may  be  an 
illustration.  Of  a  greyish-white  paste,  its 
decoration  consists  of  a  six-pointed  star- 

3  33 


34        Pottery  of  the  Near  East 

like  medallion  in  flaming  ruby  lustre,  filled 
in  with  small  crossed  lines  in  pale  gold. 
This  medallion  divides  what  appear  to  be 
flowing  cufic  characters,  of  which  the  dec- 
oration is  in  part  the  richest  ruby,  in  part 
pale  gold  covered  with  a  beautiful  madre- 
perla  lustre.  A  sight  of  one  of  these  bril- 
liantly lustred  pieces  might  well  have 
caused  the  Persian  traveller  to  record  his 
surprise.  In  point  of  fact,  and  in  spite  of 
the  skill  presently  achieved  by  the  Persian 
imitators  of  these  Saracenic-Egyptian 
ceramists,  it  is  not  until  the  time  of  the 
great  Gubbio  masters  that  one  may  again 
expect  to  find  such  rich  fiery  ruby  lustre 
in  ceramic  decoration. 

The  bowls  of  this  period  are  deep,  out- 
ward spreading,  and  resting  on  a  circular 
unglazed  foot,  seeming  to  perpetuate 
or  revive  a  shape  in  common  use  during 
the  latter  years  of  the  Twelfth  Dynasty 
of  Egypt  (Fig.  14).     Their  decoration  is 


Fig.  13. — Fragment  of  Lustred  Dish.     Fostat.     Attributed  to  the  X  Century. 

35  ; 


Egypt  37 

generally  floral  in  style,  the  design  being 
enriched  by  encircling  dashes  of  pale 
yellow  lustre.  To  this  period  also  are 
attributed  those  large  vases  or  jars  of 
heavy  grey  siliceous  paste,  covered  with 
a  thin  yellow-brown  enamel  and  decorated 


Fig.  14. — Earthenware  Bowl,     Egyptian,  XII  Dynasty. 

at  the  centre  with  heart-shaped  floriated 
designs  in  pallid  gold,  between  bands  of 
floral  design,  rope  pattern,  or,  as  in  the 
case  of  the  vase  in  Dr.  Fouquet's  collec- 
tion, of  twisted  rope  pattern  and  huge 
Nilotus  fish,  the  latter  a  common  object 
of  ceramic  decoration  under  the  kings  of 
the  early  Twentieth  Dynasty  of  Phara- 
onic  Eg>^t.  A  large  fragment  of  a 
vase    now    preserved    in    the    Koechlin 


38        Pottery  of  the  Near  East 

Collection,  and  figured  by  both  Migeon^ 
and  Wallis,2  is  another  of  these  lustred 
pieces,  the  decoration  consisting  of  a 
splendid  cufic  inscription  in  low  relief, 
enriched  by  tiny  spirals  picked  out  in 
white  against  a  soft  pale  golden  lustre. 

Turning  from  the  subject  of  metallic 
lustres  we  must  introduce  another  and 
more  mysterious  ware  mentioned  by 
that  observant  Persian  Nassiri  Khosrau — 
mysterious,  since  its  true  provenance  is 
still  a  matter  of  debate.  Nassiri  Khosrau 
speaks  of  a  ware  so  fine  and  diaphanous 
that  one's  hand  was  visible  through  it 
when  held  to  the  exterior. 

A  few  examples  of  this  beautiful 
faience  are  known  to-day,  such  as  the 
charming  ewer  and  fragment  now  pre- 
served in  the  Louvre,  and  represented 
by  an  illustration  in  Migeon's  Manuel.^ 

1  Migeon,    G.,  Gazette  des  Beaux-Arts,    Sept.,  1901. 

2  Wallis,  H.,  Persian  Lustre  Vases,  Fig.  3. 

3  Migeon,  G.,  Manuel  d'art  musulman,^.  275. 


t 


a. 

Oh 


OF  THE 

UNIVERSITY 


OF 


^i\K 


Fig.  i6. — Bowl.     Period  of  Ghury,  1505  A. D.     Fostat. 
Metropolitan  Museum  of  Art. 


41 


OF   THE 

UNIVERSITY 


'^b^ 


Egypt  45 


According  to  the  learned  Dr.  Fouquet, 
all  such  gracefully  decorated  translucid 
wares,  though  for  the  most  part  found  in 
other  lands,  may  be  assigned  to  the  period 
of  the  eleventh  century  and  to  Cairo  as 
the  city  of  their  production.  From  this, 
the  most  delicate  and  refined  production 
of  the  Cairene  ceramist,  we  must  turn 
to  a  simpler,  yet  equally  interesting 
faience,  which,  for  want  of  a  better 
name,  we  will  call  "mamluk  ware." 
This  is  a  coarse  red  earthenware,  deco- 
rated with  religious  extracts,  coarse  folia- 
tion, or  the  titles  of  various  mamluk 
emirs,  accompanied  in  many  cases  by 
their  renk  or  coats  -  of  -  arms,  incised 
upon  the  engobe,  and  covered  with  a  rich 
transparent  brown,  yellow,  green,  or  fawn- 
coloured  glaze.  Of  this  sort  of  pottery 
many  examples  have  been  discovered 
amidst  the  mounds  of  Old  Cairo  in  the 
north,  and  of  Ghus  (Kus)  in  the  south 


46       Pottery  of  the  Near  East 

of  Egypt.  The  most  commonly  met 
with  form  is  that  of  a  deep  outward- 
sloping  bowl  (Figs.  15-16),  standing 
on  rather  a  high,  glazed  or  unglazed  base. 
In  date,  this  mamluk  ware  extends  over 
a  long  period,  as  it  seemingly  comes 
in  toward  the  end  of  the  reign  of  the 
Agguby  Khalifs,  and  ends  with  the 
termination  of  the  Dynasty  of  the  Cir- 
cassian Mamluks,  or  from  the  year  1172 
to  1516  A.D.  Many,  on  account  of  the 
armorial  bearings  that  decorate  them, 
may  even  be  dated  to  definite  reigns. 
Under  Fig.  17,  will  be  seen  an  especially 
interesting  fragment,  bearing  as  it  does 
an  inscription  incised  upon  its  inner  rim: 
''Made  by  the  servant  of  the  Illustrious 
Commander,  Shihab  el-Din  'Umary." 


CHAPTER  III 

SYRO-EGYPTIAN 

/^^ERAMIC  types  to  be  considered  under 
this  dual  title  are  wares,  as  the 
name  indicates,  common  to  both  Egypt 
and  Syria.  Here  again,  as  in  the  purely 
Egypto-Saracenic  wares  we  have  just 
endeavoured  to  group,  we  are  first  led 
to  a  consideration  of  metallic  lustres. 
The  examples  preserved  to  us,  consist, 
for  the  most  part,  of  bowls  exhibiting 
the  usual  twelfth-century  form,  having 
ground  decoration  of  deep  blue,  turquoise 
or  white,  and  rich  with  pale  gold  or 
coppery  lustre;  with  floriated  spiral  de- 
signs of  graceful  style;  figures  of  hares, 
birds,  or  floriated  cufic  inscriptions,  sur- 
rounded either  by  plain  or  spiralated 
bands  of  lustre. 

47 


48       Pottery  of  the  Near  East 

Two  splendid  examples  exist  to-day 
in  the  museums  of  the  Louvre  (Fig.  18) 
and  Sevres  (Fig.  19) .  Sometimes,  though 
rarely,  another  type  of  this  early  lustre 
ware  is  found,  the  decoration  of  which 
consists  of  lustred  figures  in  circular 
medallions  surrotmded  or  divided  by 
geometric  designs,  also  in  lustre.  An 
example  of  this  unusual  type  is  figured 
by  Migeon,^  a  bowl  now  preserved  in 
the  Mutiaux  Collection. 

The  unlustred  varieties  are  generally  at- 
tributed to  the  early  fourteenth  century. 
Among  them  are  vases,  jugs,  ewers,  and 
certain  shallow  bowls  or  dishes,  decorated 
in  watery  black  and  deep  or  pale  cobalt, 
rarely  turquoise,  with  floral  and  epi- 
graphic  designs.  These  often  serve  to 
fill  V-shaped  compartments  that  spring 
from  a  rosette  or  circle  at  the  centre. 
In  style  and  ornamentation,   this  type 

1  Migeon,  G.,  Manuel  d'art  musulman,  p.  280. 


Fig.  i8. — Bowl.     Syro-Egyptian.     XII  Century.     Louvre, 
From  Migeon,  *'  Manuel  d'art  musulman." 


49 


^     OF   THE 

UNIVERSITY 

OF 


Fig.  19. — Bowl.     Syro-Egyptian.     XII  Century.     Sevres  Museum. 
From  Migeon,  "  Manuel  d'art  musulman." 


51 


Fig.  20.— Shallow  Bowl.     Syro-Egyptian.     Early  XIV  Century. 


53 


OF  THE 

iVERSSTV 


Fig.  21. — Vase.     Syro-Egyptian.     Early  XIV  Century. 
Metropolitan  Museum  of  Art. 

55 


^  OF   THE,_y 

Of 


Fig.  23 — Shallow  Bowl.     Syro-Egyptian.     Early  XIV  Century. 
Metropolitan  Museum  of  Art. 


59 


THE 


OF 


'-^^^/VERs/ry 


OF 


.  s 

^1  5 


o 


^SIa^^ 


OF  THE 


UNIVERSITY 


Syro-Egyptian  63 

is  identical  with  one  already  considered 
under  Egypt;  but  though  Dr.  Fouquet 
arrived  at  the  conclusion  ^  that  the 
ware  was  made  in  Cairo,  it  was  likewise 
manufactured  near  Damascus,  while  frag- 
ments have  been  found  amidst  the  ruins 
of  many  another  ancient  Syrian  site. 
Examples  of  this  ware  are  illustrated 
under  Figs.  20-24,  where  the  forms 
commonly  met  with  are  shown.  In  all 
cases,  the  decoration  is  in  black  and  blue 
on  white. 

>  Fouquet,  Dr.,  Contribution  d  V  etude  de  la  ckramique 
orientale,  pp.  70  and  following. 


CHAPTER  IV 

SYRIA 

r  TNDER  this  heading  we  must  first 
consider  a  type  of  ware  to  which 
no  exact  provenance  can  be  assigned, 
seeing  that  it  is  common  to  Syria, 
Egypt,  and  Sicily.  Shallow  dishes,  plates 
both  large  and  small,  deep  bowls  on  high 
bases,  and  certain  pear-shaped  vases  or 
jars  are  the  most  commonly  met  with 
forms.  The  paste  is  a  heavy,  yellowish, 
argillaceous  frit.  The  decoration  is  both 
lustred  and  unlustred,  examples  of  the  lus- 
tred  ware  being  the  rarer.  Existing  speci- 
mens consist  for  the  most  part  of  cups 
with  lustre  decoration  against  a  turquoise 
or  dark  blue  or  black  ground;  but  the 
more  unusual  examples  are  pieces  such  as 

the  beautiful  vase  now  in  the  Godman 
64 


Syria  65 

Collection,  a  pear-shaped  vase,  decorated 
with  designs  of  flying  birds  amidst  flowers, 
bands  of  simulated  inscriptions,  and  an 
upper  band  of  birds,  the  whole  in  rich 
grey-green  lustre  against  a  blue  ground. 
The  decorative  designs  are  sometimes 
floriated  inscriptions  as  in  the  remarkable 
vase  now  in  the  collection  of  the  Countess 
de  Beam,  a  piece  in  which,  against  a 
cream- white  ground,  are  large  Arabic 
inscriptions  in  floriated  characters,  filled 
in  with  floriated  spirals,  the  whole  in  a 
rich  olive-green  lustre.  This  vase  is 
likewise  illustrated  by  Migeon,  who  quotes 
van  Berchem's  translation  of  an  inscrip- 
tion found  upon  its  base:  ''Made  for 
Assad  of  Alexandria  (or  Alexandretta) 
by  Yussuf  at  Damascus,"  proving  con- 
clusively that  this  piece  is  a  purely  Syrian 
production.  Yet  that  pieces  of  this 
type  were  made  in  Egypt,  we  are  pretty 
sure,  since  Wallis,  in  his  Early  Persian 
5 


66       Pottery  of  the  Near  East 

Lustre  Vases,  mentions  a  vase  now  in 
South  Kensington,  which  bears  the  in- 
scription: **Our  Lord,  the  VaHant  King, 
Moyyad  el-Mansur(  ?) ,"  a  Sultan  of  Egypt. 
The  bowls  of  this  class  are  mentioned 
more  fully  under  Syro-Egyptian  ware 
and  consist,  for  the  most  part,  of  shallow 
pieces,  decorated  against  a  white  ground, 
with  designs  of  birds  or  animals  amidst 
sparse  floral  ornament  or  richly  floriated 
cufic  inscriptions  in  greenish  golden  lustre. 
The  unlustred  ware  consists  likewise 
of  dishes,  bowls,  and  vases,  the  last 
being  the  type  most  generally  met  with, 
though  all  are  to-day  exceedingly  rare. 
Pieces  of  this  sort,  more  especially 
the  vases,  are  decorated  with  bands 
of  flower-filled  ovals,  floriated  spirals, 
and  inscriptions  in  true  or  simulated 
Arabic,  the  whole  in  either  black,  blue 
or  both  upon  a  white  ground  or  black 
against  a  greenish-blue  ground.     To  the 


Fig.  25.— Vase.     Syria.     Early  XIV  Century. 

Metropolitan  Museum  of  Art. 

67 


'   Of  ■^»^i.-ry 


s-..      c 


t^ 

3 

C 

<L> 

u 

< 

> 

c 

s 

a 

s 

u 

rt 

l/J 

rS 

15^ 

C 

rt 

^ 

3 

o 

c^ 

p 

o 

1 

;-l 

1 

<u 

f^ 

6 

Syria  71 

first  class  belongs  a  splendid  jar  (Fig.  25) 
decorated  in  pale  blue  and  watery  black, 
now  preserved  in  the  Metropolitan  Mu- 
seum of  Art;  to  the  second,  the  bowl 
shown  under  Fig.  26,  and  belonging  to 
the  same  collection. 

Fragmentary  specimens  have  been  met 
with  on  the  sites  of  many  ancient  cities, 
for,  besides  many  Syrian  sites,  pieces 
have  been  found  both  in  the  north 
and  south  of  Egypt,  more  especially 
amidst  the  mounds  at  Fostat,  Eshmunen 
and  Ghus  (Kus),  though  the  island  of 
Sicily  has  preserved  to  us  the  greater 
number  of  intact  examples.  We  know 
that  at  the  period  of  the  early  thirteenth 
century,  Sicily  was  inhabited  by  a  vast 
number  of  the  descendants  of  those  earlier 
Saracens  who,  for  five  centuries  or  more, 
had  wandered  to  her  shores.  So  many 
were  there,  in  fact,  that  the  Emperor 
Frederick  II.  was  enabled  to  send  more 


72        Pottery  of  the  Near  East 

than  20,000  to  colonise  various  fortified 
places  which  he  had  erected  on  the 
southern  mainland  of  Italy.  Thus  we 
may  realise  that  Sicily  was  well-nigh  as 
thoroughly  Saracenic  at  this  period  as 
she  had  been  Greek  under  an  earlier 
system  of  colonisation. 

From  this  and  other  data,  we  shall 
not  be  far  out  when  we  attribute  to 
pieces  of  this  t}^e  a  date  not  later  than 
the  early  fourteenth  century. 


CHAPTER  V 

PERSIA 

C"  XAMPLES  of  Persian  ceramic  art  are 
^^  more  numerous  and  better  known 
than  are  those  of  any  other  section  of  the 
Near  East.  Not  only  is  the  provenance 
of  many  an  example  known,  but  it  often 
happens  that  an  inscription  worked  into 
the  decoration  of  many  an  early  Persian 
piece  furnishes  us  with  the  precise  date 
of  its  manufacture.  Forms,  too,  are 
better  known.  These,  at  an  early  date, 
included  albarello,  ovoid,  or  pear-shaped 
vases,  ewers,  jugs,  bowls,  plates,  and 
star-shaped,  cruciform,  or  oblong  tiles 
and  plaques. 

According  to  their  different  styles  of 
decoration,  we  may  divide  the  Persian 
ware  into  three  separate  groups: 


74        Pottery  of  the  Near  East 

First. — Lustred  ware,  with  or  without 
colour. 

Second. — Unlustred  ware,  monochro- 
matic or  polychromatic. 

Third . — Semi-porcelain. 

Taking  up  these  groups  in  order,  we 
find  that  lustred  faience  has  been  dis- 
covered amidst  the  ruins  of  Rhages, 
modem  Rei,  a  city  somewhat  to  the  north 
of  Teheran.  Rhages  was  an  important 
city  as  far  back  as  the  days  of  the  Sassa- 
nian  kings,  and  it  continued  as  one  of 
Persia's  chief  centres  until  the  inroad  of 
the  Tartars,  early  in  the  thirteenth  cen- 
tury. The  Arabian  historian,  Yacout, 
visiting  it  in  the  year  1221  a.d.,  speaks 
of  it  as  already  in  ruins,  but  remarks 
that  even  then  its  houses  were  decorated 
with  ''brilliantly  glazed  and  coloured 
bricks."  That  these  brilliantly  glazed 
bricks  may  well  have  been  lustred  wall 
tiles  is  bom  out  by  the  fact  that  several 


Fig.  27.— Lustred  Vase.     Rhages,  Persia.     XIII  Century. 
From  Wallis.  "The  Godman  Collection." 

75 


OF   THE 


2  "5 


^^^^^^^^^H^^^^^^^^H^^HE/.i>'\  ^-^Iw9taf''9^^S^^^^^^^^^^^^^^^^^^^^^^^^^m 

I|?jPI 

^^^^^H 

^Hl^fi 

i^i^^^S^^^wQ^^^H 

^^^K^^Bi^aII^bBh'v 

^^^^^j^yi^^^^^^^^^^^^^^^H 

^^^^H^L                 '  ^^^^^^^^^^^^^^^^^^^^^^^^^^^ 

^fe^^^^l 

Fig.  2g.— Lustred  and  Coloured  Wall  Tile.      Persia.      XIII  Century. 
Author's  Collection. 


79 


Persia  8i 

Persian  mural  tiles  are  known,  bearing 
dates  as  high  as  the  year  1217  a. d.  Other 
dated  examples  of  lustre  ware  known  to 
us  include  a  star-shaped  wall  tile,  now 
in  the  Metropolitan  Museum,  rich  with 
blue  and  ruby  lustred  floral  arabesques, 
bearing  the  date  1262  a.d.,  and  a  vase  pre- 
served in  the  Godman  Collection  which 
is  dated  1231  a.d. 

The  Rhages  lustre  ware  is  well  illus- 
trated by  the  superb  vase  shown  under 
Fig.  27,  a  vase  rich  with  soft  greenish  lus- 
tre and  forming  one  of  the  most  choice 
examples  of  Persian  faience  in  the  un- 
rivalled collection  of  Mr.  duCane  God- 
man.  The  Louvre  possesses  a  somewhat 
similar  example,  together  with  an  exqui- 
site gourd- shaped  bottle,  decorated  with 
foliated  medallions  and  geometric  pat- 
terns, and  a  flower- vase  ornamented  in  a 
somewhat  similar  manner,  but  with  the 
addition    of    bands  of   flowing  Neskhy. 


82         Pottery  of  the  Near  East 

These  examples  are  all  illustrated  by  Mig- 
eon  in  his  admirable  book  on  Muhamme- 
dan  art.  ^  To  this  century  belong  certain 
tiles  similar  in  decoration  to  those  illus- 
trated under  Figs.  28-29,  star-shaped  tiles 
measuring  anywhere  from  3j  to  8| 
inches  in  height.  Tiles  of  this  sort  are 
generally  decorated  with  either  human 
figures,  animals,  or  birds  amidst  foliage, 
set  dos  a  dos,  sometimes  divided  by  a  tall 
cypress  tree  or  similar.  Single  figures 
are  likewise  found,  surrounded  by  the 
same  type  of  floral  ornament.  These 
designs  are  generally  in  a  creamy  white 
reserved  on  a  pale  gold  or  ruby  lust  red 
ground,  framed  in  an  outer  band  of  ara- 
besques, Koranic  inscriptions  of  plain 
bands  in  blue  or  lustre.  Star-shaped 
and  cruciform  tiles  attributed  to  the 
commencement  of  the  fourteenth  century 
are  decorated  with  floral  arabesques  in 

1  Migeon,  G.,  Manuel  d'art  musulman. 


Fig.  30.— Lustred  Wall  Tile.     Veramin,  Persia.     XIV  Century. 
Author's  Collection. 


83 


OF  THE  "^ 


f 

1  '^M,:  '?'-'a?f^«.x\<s^ 

L«"  ■"^^«:  <CS5l^3§v>*& 

> 

I— I 

X  ti 
.  < 


r::  <5  00 


^  ^ 


OF  THE 

VERSITY 

OF 


Persia  87 

creamy  white,  reserved  against  a  pale 
golden  lustred  ground,  which  is  similarly 
framed  in  bands  of  lustred  Koranic 
inscription.  Fig.  30. 

Tiles  of  this  sort  are  said  to  come  from 
a  mosque  at  Veramin,  dating  from  about 
the  year  1262,  yet  no  doubt  the  type 
was  produced  at  other  localities.  Of 
this  early  period  and  unique  in  point 
of  rarity  and  beauty,  is  a  gorgeous 
lustred  vase,  dating  from  the  beginning 
of  the  fourteenth  century  and  now  pre- 
served in  the  Hermitage  at  St.  Petersburg. 
Of  pear  shape,  this  remarkable  vase  is 
moulded  in  relief  with  five  lines  of  figure 
designs  against  a  field  of  glowing  lustre. 
In  the  first  line  we  see  a  row  of  seated 
figures;  in  the  second,  antelope  course 
through  underbrush ;  the  third  presents  a 
band  of  warriors  or  huntsmen  afoot  or  on 
horseback,  while  the  two  lower  rows  show 
birds  and  antelopes  amid  thick  foliage. 


88         Pottery  of  the  Near  East 

During  this  period  and  on  to  the 
fifteenth  century,  the  lust  red  tiles  are 
larger,  and  equally  as  rich.  The  four- 
teenth still  makes  use  of  the  star  and 
cruciform  tile,  yet  early  in  the  century 
adopts  a  new  form.  This  is  a  square 
or  oblong  plaque  moulded  in  relief  with 
epigraphic  designs,  generally  in  blue 
against  a  ground  of  lust  red  spirals,  spots 
and  floral  patterns  reserved  on  white 
(Figs.  31-32). 

In  many  cases  these  plaques  are 
further  enriched  by  friezes,  also  in  relief 
(Fig.  33),  ornamented  in  colours  and 
lustred  with  figure,  bird,  or  floral  designs, 
or  else  by  inscriptions  in  flowing  Neskhy 
character. 

To  the  late  fifteenth,  and  through  to  the 
days  of  Shah  Abbas  L,  belong  certain 
slabs  and  star  or  cruciform  tiles,  covered 
as  a  rule  with  a  deep-toned  or  pale  tur- 
quoise blue  enam_el.     The  designs,  either 


u    o 


^  ^    o 


\l^1 


M^ 


Fig.  33.-— Lustred  Wall  Tile.     Persia.  XIV  Century. 
Metropolitan  Museum  of  Art. 


91 


Persia  93 

flying  birds  or  floral  patterns,  are  gen- 
erally modelled  in  low  relief,  and  covered 
with  rich  gilding.  In  many  cases,  minute 
hooks,  in  white  over  the  blue,  fill  up  every 
bit  of  space  between  the  main  decorative 
subjects.  The  provenance  of  these  mural 
slabs  and  tiles  is  at  present  uncertain, 
but  Migeon  mentions  Tabriz,  ^  though 
without  accounting  for  the  attribution. 
With  the  sixteenth  and  seventeenth 
centuries,  Persia  produced  a  certain  lus- 
tred  faience,  which,  from  the  nature  of 
its  paste  and  the  pure  ivory  white  of  its 
outer  surface,  has  been  called  variously 
porcelain,  semi-porcelain,  or  semi-faience. 
This  semi-faience,  both  lustred  and  un- 
lustred,  we  have  classed  by  itself,  under 
Group  3.  The  forms  more  commonly 
met  with  include  slender-necked  bottles, 
bowls,  dishes,  plates,  small  globular  vases, 
and  little  cups.     The  decoration  consists 

1  Migeon,  G.,  Manuel,  p.  267. 


94        Pottery  of  the  Near  East 

for  the  most  part  of  designs  after  the 
Chinese,  for  we  generally  find  the  phoenix, 
hoopoe,  and  dragon  worked  into  the  usual 
floral  scheme.  These  designs  very  likely 
enrich  a  deep  blue,  warm  golden  yellow 
or  pale  green  coat  spread  over  the  surface 
of  the  piece.  Rarely  these  designs  are 
reserved  in  white  against  a  rich  niby 
lustre.  Examples  of  this  lustred  semi- 
faience  are  illustrated,  Figs.  34-36,  the 
first  a  shallow  dish  decorated  with  badly 
executed  floral  designs  in  soft  golden 
lustre  on  a  pure  ivory  ground ;  the  latter, 
typical  examples  of  the  bottles  of  the 
period,  the  decoration  consisting  of  birds 
amidst  foliage,  laid  on  in  a  deep  ruby 
lustre  on  white  and  blue.  Specimens  of 
this  lustred  semi-faience  may  be  attrib- 
uted to  the  period  of  Shah  Abbas  I., 
1585-1627  A.D. 

The    earliest   examples   of    unlustred 
faience  are  attributed  to  the  early  thir- 


Fig.  34. — Lustred  Plate.     Persia.   XVI  Century. 
Metropolitan  Museum  of  Art. 


95 


OF   THE 

UNIVERSITY 


OF 


iWVb,; 


Fig.  35.— Lustred  Bottle.     Persia.     XVI  Century. 

Metropolitan  Museum  of  Art. 

97 


^     OF   T,H£  \,^ 


r.'F 


Fig.  36.— Lustred  Bottle.     Persia.    XVI  Century. 

Metropolitan  Museum  of  Art. 

99 


'     OF   THE  . 


Persia  loi 

teenth  or  fourteenth  century.  First  of  all 
we  must  consider  a  certain  ware,  frag- 
ments of  which  are  to-day  found  amidst 
the  ruins  of  Rhages.  From  the  examples 
we  now  possess,  we  gather  that  the 
commonest  form  of  this  faience  was  a 
shallow,  tazza-shaped  bowl.  The  body 
was  of  a  greyish-white  earthenware, 
generally  decorated  with  designs  in  blue, 
black,  grey,  and  red  over  a  greenish  or 
yellow- white  glaze.  The  red  is  of  a  some- 
what ochreous  tone,  and  is  similar  to  that 
used  by  the  potters  of  the  Eighteenth 
Dynasty  of  Pharaonic  Egypt.  Designs 
consist  either  of  men  on  horseback  or 
of  seated  or  squatting  human  figures, 
sometimes  accompanied  by  bird  or  floral 
designs;  the  whole  surrounded  by  a 
double  or  single  line  of  flowing  Koranic 
inscriptions.  Many  fragments  are  now 
in  the  British  Museum  and  in  the  Museum 
of  Decorative  Arts  in  Paris.     A  complete 


I02      Pottery  of  the  Near  East 

example  (Fig.  37)  is  a  shallow  bowl  now 
preserved  in  the  Metropolitan  Museum 
of  Art. 

From  the  early  thirteenth  to  the  middle 
of  the  fourteenth  century  belong  many 
of  the  dark  blue  monochromatic  pieces. 
Forms  consist  of  large  pear-shaped  or 
smaller,  alberello-shaped  vases  and  ewers, 
sometimes  moulded  under  the  glaze,  with 
floral  designs,  birds  and  animals  or 
flowing  inscriptions  that  sometimes  date 
them.  The  magnificent  dark  blue  vase 
in  the  Godman  Collection  (Fig.  38)  is  a 
representative    example. 

From  the  extensive  ruins  of  Sultanieh  ^ 
come  many  well  preserved  examples  of 
mediaeval  Persian  ceramic  art,  including 
vases,  bowls,  plates,  and  tiles,  all  of  which 
show  decoration  of  more  than  usual 
excellence.  The  greater  number  show 
distinct  Mongolian  influence  in  decora- 
tion ;  witness  the  ever-recurring  phoenix, 

1  And  Sultanabad? 


Fig.  37.— Polychrome  Bowl.     Rhages,  Persia.     XIII  Century. 
Metropolitan  Museum  of  Art. 


103 


/  OF   THP 

(  "«fVERs,Ty 

OF 


Fig.  38.— Vase.     Persia.      XIII  Century. 

From  Wallis,  "The  Godman  Collection." 

105 


d 
> 


12    c 
o    o 

^  iJ 

C8  ^    o 

•  IS 

o 

pq 

o 

0) 

w 
I 


Persia  109 

dragon,  and  hoopoe  bird,  the  last  a  native 
of  Mongolia.  Forms  are  varied.  Bowls 
having  flat  or  rounded  in-turning  rims 
are  typical.  Another  form  is  that  of 
a  low  dish  standine,  as  do  the  others, 
upon  an  unglazed  foot,  but  differing  in 
that  the  rim,  instead  of  being  rounded 
or  flat  and  turning  inward,  flares  out- 
ward and  inclines  to  some  slight  ex- 
tent upwards.  A  good  example  of 
this  latter  form  is  found  in  the  col- 
lection of  Claudius  C6te  of  Paris.  ^  The 
exteriors  of  the  bowls  (Fig.  39)  are 
generally  very  similarly  decorated.  A 
line  of  dots  and  hooks  framed  in  simple 
bands  encircles  them,  while  about  the 
upper  edge  run  bands  of  petal  designs 
in  low  relief.  The  interiors,  when  not 
distinctly  influenced  by  Chinese  taste, 
show  floriated  centres,  with  perhaps  the 
figure  of  a  hare  or  bird.     Radiant  designs 

»  Les  arls,  April,  1908. 


no      Pottery  of  the  Near  East 

flare  from  this,  the  intervening  compart- 
ments being  filled  with  floral  or  arabesque 
designs  or  floriated  ovals  (Fig.  40) .  This 
decoration  is  generally  framed  by  an 
upper  band  of  petal  design  similar  to  that 
about  the  upper  part  of  the  exterior. 
The  interior  designs  are  likewise,  as  a 
rule,  in  low  relief.  The  colours  in  use 
were  a  deep  blue  or  turquoise  and 
watery  black  on  white.  An  especially 
beautiful  form  of  Sultanieh  ware  is 
that  in  which  the  relief  designs  are  in 
white  against  a  watery  black.  In  this 
latter  class  the  lotus  flower  and  hoopoe 
bird  are  frequently  used,  with  charming 
effect  (Fig.  41).  Covering  this  ware  is  a 
glaze  thick,  bubble-filled  and  siliceous; 
the  paste  is  reddish  or  yellowish  grey  in 
colour  and  is  frequently  gritty,  having 
to  the  touch  somewhat  the  feeling  of 
fine  sandstone. 

The  mosaic  work  of  Persia,  early  learned 


Fig.  40— Bowl.     Sultanieh,  Persia.     Early  XIV  Century. 
Metropolitan  Museum  of  Art. 


Ill 


;i^ 


Fig.  41.— Bowl.     Sultanieh,  Persia.     Early  XIV  Century. 
Kelekian  Collection. 


"3 


> 

X 

w 


^    a; 


S   1^ 
If 

O 


Persia  117 

from  the  ceramists  of  Khorassan,  pre- 
sents indescribable  beauties  both  in  line 
and  colour.  Nothing  can  excel  the  beauty 
of  the  Blue  Mosque  at  Tabriz  raised 
about  1437-1468.  The  exquisite  Shrine 
of  Khoda  bende  Khan  at  Sultanieh, 
erected  at  an  even  earlier  date  (1304-16), 
together  with  other  palaces,  mosques, 
and  portals  in  Ispahan,  in  the  vicinity  of 
Merv,  and  farther  north  in  Samarkand, 
all  ornamented  in  the  same  vivid,  yet 
harmonious  manner,  bespeak  the  Persian 
ceramist  taste  and  skill.  To  even  at- 
tempt a  description  of  this  branch  of 
his  art,  volumes  would  be  required. 

Tiles  of  the  period,  Fig  42,  said  to 
come  from  Sultanieh,  are  star-shaped  or 
oblong  and  of  a  heavy  earthenware. 
The  designs  that  decorate  them  are 
usually  moulded  in  low  relief,  and  consist 
for  the  most  part  of  hoopoe  birds  or 
antelopes  in  the  midst  of  trees  or  shrubs. 


ii8      Pottery  of  the  Near  East 

Colours  are  similar  to  the  more  useful 
ware,  being  a  deep  blue,  black,  or,  rarely, 
turquoise  on  white. 

Another  form  of  decoration  of  this 
period  is  found  upon  certain  bowls  in 
which,  from  a  central  oval,  depends,  a 
radiant  design  filled  in  with  flowing 
Neskhy  inscriptions  and  lotus  flowers 
in  white  against  a  dark  blue  ground. 
The  octagonal  or  round  bowls  sometimes 
met  with,  having  inscriptions  in  green 
against  a  black  or  dark  blue  ground, 
and  attributed  to  Persia  by  Migeon, 
may  perhaps  be  classed  among  the 
Syro-Egyptian  ware,  as  fragmentary  ex- 
amples, hailing  from  Ghus  (Kus)  Upper 
Egypt,  are  now  in  the  Metropolitan 
Museum  of  Art. 

The  early  seventeenth  century  brings 
us  to  the  polychrome  enamelled  faience 
of  the  reign  of  Shah  Abbas,  1585-1627. 
In  the  illustration  (Fig.  43)  will  be  seen 


rt     O 

Oh     5 

1—1     en 


-^     OF   THE 

UNIVERSSTV 

OF 


Fig.  44.— Plate.     Persia.     XVI-XVII  Century. 
Metropolitan  Museum  of  Art. 


121 


Fig.  45.— Plate.     Persia.     XVI-XVII  Century. 
Metropolitan  Museum  of  Art. 


123 


Persia  125 

a  large  panel  made  up  of  many  tiles 
and  decorated  in  the  brightest  enamels, 
with  a  scene  in  which  ladies  of  the  Shah's 
Court  are  represented  as  receiving  the 
bribes  or  presents  of  certain  European 
merchants  who  would,  through  their 
influence,  be  enabled  to  reach  the  Shah. 
This  panel  or  set  of  tiles  is  enamelled  in 
dark  blue,  yellow,  green,  purple,  red, 
black,  and  an  exquisite  turquoise,  the 
whole  against  a  pure  ivory  white.  An 
interesting  detail  are  the  two  long-necked 
bottles  at  the  lady's  feet  and  the  small 
cups  which  both  the  lady  and  the  gentle- 
man before  her  hold  in  their  hands. 
All  are  examples  of  the  early  sixteenth- 
century  lustred  semi-faience,  to  which 
we  have  already  referred.  The  panel, 
together  with  similar  examples  preserved 
in  both  the  Kensington  Museum  and 
the  Louvre,  formed  part  of  the  dado 
in    the    Palace   of  Chahal   Situn  which 


126      Pottery  of  the  Near  East 

was  reared  by  the  great  Shah  Abbas  at 
Ispahan. 

To  the  north-east  of  Persia^  are  general- 
ly attributed  those  faience  plates  decora- 
ted, against  a  crackled  and  often  stained 
yellow  white,  with  turbaned  heads,  birds, 
arabesques,  or  figures  (Figs.  44-45)  amidst 
flowers,  and  surrounded  by  scale-pattern 
and  arabesque  borders,  the  whole  in 
watery  red,  yellow,  blue,  and  green.  Such 
pieces  may  be  attributed  to  the  late  six- 
teenth or  early  seventeenth  centuries. 
Another  style  or  decoration,  dating  from 
the  same  period,  consists  of  birds  and 
foliage  in  black  against  a  deep  rich  green. 
These  pieces  are  generally  termed  Khu- 
bacha,  we  do  not  know  for  what  reason. 
Persia  possesses  many  mountain  villages 
so  designated,  not  one  of  which  seems  to 
claim  this  deep-toned  faience  for  its  own. 

To  Bokhara  are  assigned  certain  red 

1  And  to  Daghestan, 


Fig.  46.— Plate.     Bokhara,  Central  Asia.     XVIII-XIX  Century. 
Author's  Collection. 


127 


Fig.  47— Plate.     Kirman.     XVII  Century. 
Metropolitan  Museum  of  Art. 


129 


Fig.  48.— Plateau.     Kirman  (  Kang-hsi  type  ).     Persia.    XVII  Century. 
Author's  Collection, 


131 


Persia  133 

earthenware  rice  plates  or  dishes,  the 
centres  of  which  are  generally  decorated 
with  floral  designs  in  dark  blue  or  purple 
on  white,  framed  in  a  broad  outer  band 
of  checker-pattern  in  the  same  colours 
(Fig.  46).  This  ware  is  attributable  to 
the  early  eighteenth  and  the  nineteenth 
centuries. 

The  unlustred  faience  of  Kirman  must 
also  be  noted .  In  this  ware,  the  influence 
of  China,  introduced  into  Persia  early  in 
the  fourteenth  century,  becomes  most 
evident.  The  plateau  and  plate  illus- 
trated under  Figs.  47-48  are  representa- 
tive, the  decoration  being  in  blue  and 
white.  The  faint  mark  on  the  back 
imitates  the  square  seal  mark  of  the 
Chinese.  A  common  form  of  this  ware 
is  the  long-necked  or  gourd-shaped  bottle, 
similarly  decorated  in  grey-blue,  rarely 
cobalt  blue  on  white.  All  examples  are 
attributed  to  the  early  seventeenth  cen- 


134      Pottery  of  the  Near  East 

tury  and  many  bear  marks  imitating  the 
Chinese.  The  semi-faience  of  Gombrun, 
attributed  as  it  is  to  the  first  half  of  the 
eighteenth  century,  is  one  of  the  most 
beautiful  of  all  the  unlustred  Persian 
wares.  A  survival  perhaps  of  the 
semi-transparent  Cairene  ware  of  the 
eleventh  century,  this  siliceous  semi- 
faience  is  often  found  decorated  with 
designs  incised  in  the  paste  or  with  star- 
shaped  designs  cut  out  of  the  paste, 
after  the  grain-de-riz  porcelain  of  China. 
Often  we  find  floral  designs  painted 
under  the  glaze  in  a  pale  blue  or  watery 
black,  while  in  certain  rare  cases  the 
colour  decoration  is  further  enriched  by  a 
gilding  laid  on  over  the  glaze.  Forms 
are  varied  and  include  long-necked  bottles 
(Fig.  49),  bowls  on  short  or  high  bases 
(Fig.  50),  globular  vases,  flat  dishes,  and 
small  cups. 

From   Kashan  comes  a  last   type  of 


Fig.  49.— Bottle.     "  Gombrun  Ware."     Persia. 
Metropolitan  Museum  of  Art. 
135 


:  700-1 750. 


Ph  < 


.•1^ 


Persia  139 

faience  decorated,  as  a  rule,  with  an 
exceedingly  rich  emerald  green  or  blue 
green  glaze,  enriched  with  floral  designs, 
medallions,  arabesques,  or  palmette  orna- 
ment in  black.  Forms  include  oval  jars, 
deep  bowls,  dishes,  and  plates.  This,  the 
last  type  of  Persian  faience,  which  we 
shall  consider,  may  be  attributed  to  a 
period  as  high  as  the  early  eighteenth 
century. 

That  mural  decoration  by  means  of 
lustred  or  enamelled  tiles  was  early 
practised  in  Persia,  we  have  already 
seen,  but  we  have  not  touched  upon 
another  class  of  wall  decoration  whose 
beauties  were  appreciated  by  mediaeval 
kings  and  rulers  far  without  her  borders. 
In  many  mosques  throughout  Asia  Minor 
we  meet  with  portals,  mirhabs,  domes, 
and  walls,  rich  with  a  mosaic  decoration 
exhibiting  the  most  intricate  arabesque 
ornament,  floral  scrolls,  stars,  and  flowing 


1 40      Pottery  of  the  Near  East 

or  rigidly  severe  epigraphic  designs  in  the 
richest  of  enamelled  colours.  Turquoise 
blue,  cobalt  blue,  manganese,  violet, 
black,  and  white  are  some  of  the  more 
commonly  used  colours.  The  pieces  that 
go  to  make  up  these  rich  designs  are  com- 
posed of  bits  of  enamelled  faience  cut  in 
various  forms  and  fixed  in  wet  mortar. 
These  pieces  are  cut  into  squares,  dia- 
monds, stars,  or  plaques,  ranging  in  size 
from  floral  buttons,  half  an  inch  in 
diameter,  to  plaques  half  a  foot  or  more 
in  height.  The  beautiful  mosques  of  the 
Medersa  Sirtcheli  and  Kara  Tai  at  Konieh 
in  Asia  Minor,  both  raised  about  the 
middle  of  the  thirteenth  century,  were 
decorated  throughout  with  such  marvel- 
lous arabesque  and  epigraphic  designs  by 
Persian  ceramists  from  Meshhed. 


CHAPTER  VI 

TURKEY,  EUROPEAN  AND  ASIATIC 

n^HAT  Turkey  learned  much  from  the 
'■'  wonderful  achievements  of  the  Per- 
sian ceramists,  to  whom  we  have  just 
referred,  is  certain.  The  gorgeous  Green 
Mosque  at  Brussa,  finished  during  the 
first  quarter  of  the  fifteenth  century,  was 
as  certainly  inspired  by  Persia  as  were 
the  mosques  of  the  Sultan  Akhmet  and 
the  Mausoleum  of  Murad  III.  at  Con- 
stantinople. By  the  end  of  the  century, 
such  ceramic  factories  as  Lindus,  Nicea, 
Angora,  Scutari,  and  Damascus  were 
turning  out  vast  quantities  of  a  peculiarly 
rich  siliceous  glazed  faience,  both  useful 
and  ornamental.  Their  experts  received 
commissions  to  decorate  certain  famous 
mosques  in  Constantinople.     There  they 

141 


142      Pottery  of  the  Near  East 

have  left  the  glorious  mural  panels 
seen  to-day  in  the  mosques  above  re- 
ferred to  and  in  those  of  many  another 
mosque  or  palace  throughout  that  city 
of  beauty.  Almost  immediately,  a  fac- 
tory in  Constantinople  sprang  up;  an- 
other, in  Adrianople.  Both  the  forms  and 
styles  of  decoration  used  in  these  purely 
Turkish  factories  were  necessarily  in- 
fluenced in  a  marked  degree  by  those  of 
their  teachers  in  Asia  Minor,  for  which 
reason  it  is  exceedingly  hard  in  many 
cases  to  distinguish  between  them. 

The  different  decorative  styles  met  with 
include  floral  ornament  in  the  shape  of 
tulips,  violets,  roses,  and  wild  hyacinths; 
twisting  vine  or  twigs,  after  the  Persian, 
and  including  the  Persian  palmette;  and 
lastly,  the  arabesque.  In  regard  to  colour 
materials,  this  Turkish  ware  is  found 
either  in  a  rich  tomato  red,  green,  and 
light  or  dark  blue,  or  else  manganese, 


Fig   51. — Plate.     Asia  Minor.     Dated  1646. 
H.  B.  Wilson  Collection. 


143 


OF  THE 

I'MIVERSITY 

OF 

"'.'.:- OH  H^ 


Fig.  52.— Plate.     Asia  Minor.     XVI-XVII  Century. 
Author's  Collection, 


145 


Fig.  53-— Jug.     Asia  Minor.     XVI-XVII  Century. 
Metropolitan  Museum  of  Art. 

147 


^Bia^S* 


OF 


THE 


MIVERSJTY 

OF 


Fig.  54.— Plate.     Asia  Minor.     XVI-XVII  Century. 
Metropolitan  Museum  of  Art. 


149 


Fig.  55.— Jug.     Asia  Minor.      XVI-XVII  Century. 

Metropolitan  Museum  of  Art. 

151 


'^^  OF   THE 


Fig.  56.— Plate.     Asia  Minor.     XVI-XVII  Century, 
Metropolitan  Museum  of  Art. 


153 


JRV 


fOHj 


.Lify 


Turkey,  European  and  Asiatic  155 

green,  and  black,  on  a  clear  white  ground. 
Sometimes,  as  in  one  style  of  Damascus 
faience,  a  turquoise  and  deep  blue  is 
used  with  the  richest  effect  on  pure 
white.  Included  in  the  first  colour  group 
are  the  varied  wares  of  Constantinople, 
Adrianople,  Rhodes,  Nicea,  Scutari,  and 
Angora. 

From  studies  of  the  many  dated 
mosques,  decorated  with  this  ''Turkish 
faience,"  it  has  been  found  that  the  more 
beautiful  examples  date  from  about  the 
reign  of  Suliman  the  Great  (1520-66). 
Yet  that  this  style  of  ware  was  continued 
well  on  down  through  the  seventeenth 
century,  we  know  from  the  dated  ex- 
ample illustrated  in  Fig.  51. 

Forms,  beside  the  mural  panels  already 
alluded  to,  include  deep  bowls,  large 
cylindrical  mugs,  jugs,  slender-necked 
bottles,  mosque  lamps,  candlesticks,  and 
large  and  small  plates.     Nothing  can  sur- 


156      Pottery  of  the  Near  East 

pass  the  richness  of  the  design  and  deco- 
ration of  these  more  useful  articles.  This 
is  especially  true  in  the  case  of  the  faience 
of  Damascus,  which,  from  an  unusual 
richness  in  design  and  decoration  both  in 
mural  decoration  and  on  articles  of  daily 
use,  has,  we  think  wisely,  been  kept  in 
a  class  by  itself.  Examples  of  Turkish 
faience  of  the  first  group  are  given  under 
Figs.  52-58,  plates  and  jugs  of  the  richest 
designs  and  enamels  The  second  group 
includes  certain  stvles  of  ware  found 
throughout  Asiatic  Turkey,  the  prove- 
nance of  which  is,  as  a  rule,  Ezerurn  or 
Diarbekir,  though,  judging  from  the 
mosque  lamp  illustrated  under  Fig.  59, 
this  latter  group  should  perhaps  include 
Persia.  This  remarkable  piece  is  of  a 
white  ground  covered  with  a  coat  of 
coarse  watery  black.  The  Koranic  in- 
scription and  floriated  spirals  in  white 
are  reserved,  and  in  places,  as  at  handle 


Fig.  57.— Jug.     Asia  Minor.      XVT-XVII  Century. 

Metropolitan  Museum  of  Art. 

157 


Fig.  58.— Plate.     Asia  Minor.    XVI-XVII  Century. 
Metropolitan  Museum  of  Art. 


159 


Fig.  59. — Mosque  Lamp.     Anatolia  (Persia).     XVI  Century. 

'♦  Made  by  Ibn  el-Ab  .  .  .  ?  el— Taurizi.' 

Metropolitan  Museum  of  Art. 

i6[ 


u 


5    o 

1  s 

i  s 

<J  ^    en 

03  .4-1 


o   "^ 


u 


'-3  a 

S     I/] 
<    ^      lO 


Fig.  62. — Plate.     Damascus,  Syria.     XVI  Century. 
Author's  Collection. 


167 


OF   THE 

OF 


Fig.  63.— Wall  Tile.     Damascus.  XVI  Century. 

Author's  Collection. 

169 


Turkey,  European  and  Asiatic  171 

and  base,  covered  with  a  coat  of  watery 
blue.  The  glaze  is  thick,  siliceous,  and  of 
a  pale  green  tone.  The  lamp  is  especially 
remarkable,  as  it  bears  in  flowing  Neskhy 
on  the  foot,  ''  Made  by  Ibn  el-Ab  .  .  .  ? 
el — ^Taurizi."  Perhaps  we  ma}^  deduce 
from  this  inscription  that  the  maker 
was  a  Persian  working  in  a  foreign  land, 
as  we  know  many  of  the  Persians  of  this 
period  did.  This  example  and  others 
similar  are  attributable  to  a  period  about 
the  middle  of  the  sixteenth  century. 
The  Anatolian  factory  of  Kutahia  was  the 
last  of  the  many  Turkish  factories,  con- 
tinuing as  it  did  well  on  through  the 
eighteenth  century.  Apart  from  the  dec- 
oration of  this  ware,  which  is,  as  a  rule, 
coarsely  floral,  the  earliest  pieces  are,  as 
a  rule,  of  a  yellowish  paste  and  peculiar 
lightness  in  weight.  Large  plates,  lamp 
pendants,  sucrier,  perfumed  water  sprink- 
lers, covered  or  uncovered  bowls,  cups 


172      Pottery  of  the  Near  East 

and  saucers  are  common.  Examples 
showing  the  decorative  style  of  this  ware 
are  illustrated  under  Figs.  60  and  61. 


-^^^LlFOHNVt 


INDEX 

Abbas  I.,  88,  94,  118-26 
Adrianople,  142,  155 
Agguby  Khalifs,  46 
Aknmet  Sultan,  141 
Aleppo,  I 
Alexandria,  65 
Anatolia  (Kutahia),  171 
Angora,  141,  155 
Asia  Minor,  see  Turkey,  141-72 
Assad,  65 

Baghdad,  i 

Beam,  Countess  de,  65 
Bokhara  (Central  Asia),  126 
British  Museum,  31,  loi 
Brussa  (Damascus),  141 
Byzantine  influence,  3 1 

Cairo,  33,  45,  63 

Chahal  Situn,  125 

China,  her  influence,  133-34 

Constantinople,  141-42,  155 

C6te  Collection,  109 

Daghestan,  footnote  126 

Damascus  (Syria),  63,  65,  141,  155-56 

Decorative  Arts,  Museum  of  (Paris),  loi 

Diarbekir,  156 

Dragon  (Chinese),  94,  109 

Egypt,  33-46,  64-66;  Saracenic  types,  33-37;  faience 
of  Nassiri  Khosrau,  38;  ancient  Egyptian  ware, 
37,  loi;  mamluk  ware,  45-46;  Saracenic  coats-of- 
arms,  46;  Syro- Egyptian  ware,  47-63 

Eshmunen,  71 

Ezerum,  156 

173 


174  Index 


Fostat  (Old  Cairo),  33,  71 
Fouquet,  Dr.,  37,  45,  63 
Frederick  11. ,  71 

Ghus  (Kus),  45,  71,  118 

Godman  Collection,  64,  81,  102 

Gombrun,  semi-porcelain  or  faience  of,  134 

Hermitage  (St.  Petersburg),  87 
Hoopoe,  94,  no 

Italy,  72 
Ispahan,  117,  126 

Kara  Tai,  140 
Kashan,  134-39 
Khalifs  (Agguby),  46 
Khoda  bende  Khan,  117 
Khorassan,  117 
Khubacha,  126 
Kirman,  133 
Koechlin  Collection,  37 
Konich,  140 
Kus  (Ghus),  45,  71,  118 
Kutahia  (Anatolia),  171 

Lindus  (Rhodes),  141,  155 
Louvre,  31,  38,  48,  125 

Mamluk  ware,  45-46 

Medersa  Sirtcheli,  140 

Merv,  117 

Meshhed,  140 

Mesopotamia,  1-32 

Metropolitan  Museum  of  Art,  71,  81,  102,  Ii8 

Migeon,  38,  48,  65,  82,  93,  118 

Mongolia,  influence  of,  102 

Morgan  Expedition,  31 

Moyyad  el-Mansur,  66 

Murad  III.,  mausoleum  of,  141 

Museum  of  Decorative  Arts  (Paris),  loi 

Mutiaux  Collection,  48 


Index  175 


Nassiri  Khosrau,  33,  s& 
Nicea,  141,  155 

Persia,  lustred  and  unlustred  ware,  74-140;  semi- 
porcelain,  134;  Rh ages  ware,  74-87,  loi;  Sultana- 
bad  ware,  102-10;  mosaic  work  of,  139-40 

Phoenix  in  decoration,  94,  102 

Rakka  (Mesopotamia),  1-20,  31—32 
Rhages  (Persia),  74-87,  loi 
Rhodes  (Lindus),  141,  155 

Samarkand,  117 

Saracenic  Egypt,  33-46;  Sicily,  71-72 

Sarr6,  Dr.,  9 

Sassanian  Kings,  74 

Scutari,  141,  155 

Sevres,  48 

Sicily,  64,  71-72 

South  Kensington,  66,  125 

St.  Petersburg,  87 

Suliman  the  Great,  155 

Susa,  3 1 

Sultanieh  (Persia),  102-10,  117 

Syria,  lustred  ware,  64-66;  unlustred,  66-72,  141,  155- 

56 
Syro-Egyptian  ware,  47-63 

Tabriz,  93,  117 
Tartars,  74 
Teheran,  74 

Turkey,  European  and  Asiatic,  141-72;  Persian  in- 
fluence, 141 

Van  Berchem,  65 
Veramin,  87 

Wallis,  Dr.,  38,  65 

Yacout,  74 
Yussuf,  65 


OF   THE 

UNIVERSITY 

OF 


INSCRIPTIONS 

OF  THE 

NILE   MONUMENTS 

A  Book  of  Reference  for  Tourists 
By 

GARRETT  CHATFIELD  PIER 

Author  of  "  Pottery  of  the  Near  East," 
**  Egyptian  Antiquities,"  etc. 

8vo,     With  120  Illustrations  and  a  Map,     $5.00  net 

Those  who  make  the  Nile  trip,  and  would  enjoy  it 
to  the  full,  will  be  much  assisted  if  they  prepare  for 
their  journey  with,  or  read  while  en  voyage,  Mr.  Pier's 
Inscriptions  of  the  Nile  Monuments^  a  series  of  transla- 
tions, with  comments  and  notes  by  the  translator,  of 
the  more  important  and  interesting  records  cut  or 
painted,  in  stone  or  wood,  upon  statues  and  build- 
ings. To  read  these  face  to  face  with  their  originals 
is  to  hear  a  voice  echoing  from  that  far  past  where 
myth  and  history  embrace  in  a  mist  that  makes  the 
one  indistinguishable  from  the  other. 

Another  purpose  this  beautiful  book  serves  ;  over- 
flowing as  it  is  with  illustrations  that  represent  the 
very  best  work  of  photographers  and  photo-engravers, 
it  makes  a  full  record,  with  the  help  of  pictures,  of 
things  which  the  traveller  will  most  gladly  recall,  on 
returning  from  Egyptian  journeyings. 

G.  P.  PUTNAM'S  SONS 

NEW  YORK  LONDON 


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